Submitted by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2017-02-07T18:01:05Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação - Socorro S. Batalha.pdf: 8778729 bytes, checksum: 2172108a58bc0f8a52f0767844d3c450 (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2017-02-07T18:01:19Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação - Socorro S. Batalha.pdf: 8778729 bytes, checksum: 2172108a58bc0f8a52f0767844d3c450 (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2017-02-07T18:01:33Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação - Socorro S. Batalha.pdf: 8778729 bytes, checksum: 2172108a58bc0f8a52f0767844d3c450 (MD5) / Made available in DSpace on 2017-02-07T18:01:33Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação - Socorro S. Batalha.pdf: 8778729 bytes, checksum: 2172108a58bc0f8a52f0767844d3c450 (MD5) Previous issue date: 2015-02-25 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / From a perspective of the anthropology of dance, this dissertation analyzes the boi-bumbá dance in Parintins-AM. The main focus is choreographic creation and rehearsal of Garantido Show Dance Company members, based on ethnographical research carried out in 2013. The toadas selection procedure, based on the criteria stablished by the Arts Committee, is analyzed as a basilar element for the choreographer craft, for it is through the lyrics and the rhythm that movements are conceived. Regarding the Boi calendar, the dance can be divided and described in its three key moments: 1) Stage dance, created to draw the public’s attention; 2) the dance for the recording of the DVD, which choreographic display is meant for the recording show; 3) dance for the Bumbódromo arena, with a geometrical design. The choreography learning process is a main aspect to understand the company sociability, highlighting the dancer/player role in the execution of the performance. / Esta dissertação analisa a dança do boi-bumbá de Parintins (AM) a partir da perspectiva da Antropologia da Dança. O foco principal deste trabalho é a criação e preparação coreográfica da Companhia de Dança Garantido Show. O estudo aqui apresentado baseia-se em dados obtidos durante a pesquisa etnográfica realizada no ano de 2013, no qual examino o procedimento de escolha das toadas dentro do critério estabelecido pela Comissão de Artes, por se tratar de elemento fundamental para a feitura do coreógrafo, uma vez que é através da letra e do ritmo, que ocorre a formulação do movimento. De acordo com o calendário dessa festa, em Parintins, a dança pode ser dividida e descrita em três principais momentos: 1) a dança de palco, feita para chamar a atenção do público/espectador; 2) a dança para a gravação do DVD, organizada com uma distribuição coreográfica preparada para o show de gravação; e 3) a dança de arena do Bumbódromo, elaborada com formação de desenhos geométricos. Neste trabalho, analiso a interação entre os integrantes como um aspecto fundamental para compreender a sociabilidade estabelecida na atividade, atentando, sobretudo, para o ambiente da execução da performance; a relação entre público/espectador e dançarino/brincante.

Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2015-11-26T09:52:53Z No. of bitstreams: 2 Dissertação - Kamyla Faria Maia - 2015.pdf: 2785646 bytes, checksum: 0eb7cd7137e950e0fa648b889868fcd4 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-11-27T07:24:39Z (GMT) No. of bitstreams: 2 Dissertação - Kamyla Faria Maia - 2015.pdf: 2785646 bytes, checksum: 0eb7cd7137e950e0fa648b889868fcd4 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-11-27T07:24:39Z (GMT). No. of bitstreams: 2 Dissertação - Kamyla Faria Maia - 2015.pdf: 2785646 bytes, checksum: 0eb7cd7137e950e0fa648b889868fcd4 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-08-21 / Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG / Esta investigación se centra principalmente em analizar el festival de cine a través de los conceptos de fiesta y dispositivo y así mostrar como este tipo de eventose convierte em unórgano autorizadordel cine brasileño, especialmente el género documental. Para tanto, la primera línea de análisis traza um enfoque histórico-antropológico que muestra la evolución de la fiesta para el festival. El segundo, en el tiempo histórico y filosófico, aclara cómo este tipo de evento constituye un dispositivo, de acuerdo con los conceptos presentados por Foucault, Deleuze y Agamben. Un dispositivo como el festival es capaz de crear subjetividades en los sujetos involucrados en el proceso y asegurar la continuidad de la producción y distribución de películas. El trabajo toma el Festival Internacional de Cine Documental É Tudo Verdade como un caso ejemplar y analiza la estructura de las primeras 15 ediciones del evento, llevadas a cabo entre 1996 y 2010. Entendido como un dispositivo, el festival ocupa un lugar social determinante en la evolución ética y estética del género y para aumentar la visibilidad de los documentales. A través de este enfoque, podemos identificar en el festival y en las películas ganadoras huellas de discursos, capaces de reconstituir la memoria social del documental brasileño en el período de recuperación del cine nacional y señalar una noción expandida de realidad contenida en el cine documental. / Esta pesquisa tem como principal foco analisar o festival de cinema por meio dos conceitos de festa e dispositivo e assim mostrar como esse tipo de evento se torna uma instância autorizadora do cinema brasileiro, principalmente do gênero não ficcional. Para tanto, a primeira linha de análise traça uma abordagem histórico-antropológica que mostra a evolução da festa para o festival. A segunda, por sua vezhistórico-filosófica, elucida a forma como esse tipo de evento se constitui um dispositivo,segundo os conceitos trazidos por Foucault, Deleuzee Agamben. Como dispositivo o festival é capaz decriarsubjetivações nos sujeitos envolvidos e garantira continuidade de produção e distribuiçãode filmes. Otrabalho toma o Festival Internacional de Cinema Documentário É Tudo Verdade como caso exemplar e faz uma análise da estrutura das 15primeiras ediçõesdo evento, realizadas de 1996 a2010. Entendido como dispositivo,essefestival ocupa um lugar social determinante para a evolução ética e estética do gênero e para o aumento da visibilidade dos documentários. Mediante tal abordagem,é possível identificar no festival e nos filmes premiados vestígios dos discursos, capazes de reconstituir a memória social do documentário no Brasil no período de retomada do cinema nacionale de apontar uma noção expandida de verdade contida no cinema documentário.

Submitted by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2015-11-05T14:03:18Z No. of bitstreams: 1 Tese - Elizandra Garcia da Silva .pdf: 834610 bytes, checksum: 19fcedfedc405a543cfa3d4201f63387 (MD5) / Made available in DSpace on 2015-11-05T14:03:18Z (GMT). No. of bitstreams: 1 Tese - Elizandra Garcia da Silva .pdf: 834610 bytes, checksum: 19fcedfedc405a543cfa3d4201f63387 (MD5) Previous issue date: 2015-07-20 / FAPEAM - Fundação de Amparo à Pesquisa do Estado do Amazonas / This study aimed to analyze the life production way and the Boi-Bumbá play of parintinenses players in the capitalist context of social production. From the analyze was built the thesis that in the Boi-Bumbá play, initiated in 1913, the capitalist system passed by many important transformations that moulded the life way and the form how to play Boi-Bumbá for the players. We understand these change in general historical movement of capitalist system and reserve the peculiarities of Parintins city. So, we claim that Bumb s “fists steps” were trodden on a capitalist system undeveloped still based on extractive which determined to the players the simple custom of play Boi-Bumb . In a “few more steps”, with jute culture and its start of industrial processing associated with the Manaus Free Zone creation, the life and Boi-Bumbá institutionalization of this play. From the moment of the Boi-Bumb “walked with own paws” it was expropriated of the costum of community by Government of Amazon State and was transferred to the private companies with entitled to its commercialization as a commodity. In the midst of marketing production the most of players become Boi-Bumbá workers and started to produce the commodity of Boi-Bumbá, being sold Festival Folclórico de Parintins to consumers which were categorizaed in Boi-Bumbá players. / Este estudo teve por objeto analisar o modo de produção da vida e o brincar de Boi-Bumbá dos brincantes parintinenses, no contexto capitalista de produção social. A partir das análises construímos a tese de que, na brincadeira de Boi-Bumbá em Parintins, iniciada em 1913, o sistema capitalista passou por profundas transformações que determinou transformações no modo de vida e no brincar de Boi dos brincantes. Compreendemos essas transformações no movimento histórico generalizado do sistema capitalista e reservamos as peculiaridades à Cidade de Parintins. Assim, afirmamos que os „primeiros passos‟ dos Bumbás foram trilhados sobre um sistema capitalista pouco desenvolvido, ainda baseado no extrativismo, determinando aos brincantes o costume simples de brincar de Boi. Em „mais alguns passos‟, com o cultivo da juta e início de seu beneficiamento industrial, conjugado criação da Zona Franca de Manaus, a vida e a brincadeira de Boi acompanharam esse início de racionalização, evidentes no trabalho, no tempo livre e na institucionalização da brincadeira. E, quando „andou com suas próprias patas‟, o Boi-Bumbá foi expropriado do costume dos comunitários pelo Governo do Estado do Amazonas e cedido à empresas privadas com direito de sua comercialização enquanto mercadoria. No bojo da produção mercadológica, a maioria dos brincantes se tornou trabalhador do Boi, e produziu a mercadoria do Boi-Bumbá, vendida no Festival Folclórico de Parintins aos consumidores aos quais foi trasladada a categoria de brincantes de Boi-Bumbá.

Made available in DSpace on 2015-04-11T13:41:22Z (GMT). No. of bitstreams: 1 dissertacao FECANI eder castro gama.pdf: 7850279 bytes, checksum: 6140f9c889fac7be8f179efd37f8b96c (MD5) Previous issue date: 2009-03-30 / FAPEAM - Fundação de Amparo à Pesquisa do Estado do Amazonas / Festival da Canção de Itacoatiara: o local e o regional na perspectiva de um evento musical na Amazônia.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta pesquisa tem como objetivo analisar o processo de ressignificação dos símbolos interculturais da identidade do povo maranhense em Boa Vista, tendo como objeto de pesquisa o Festejo de São Raimundo Nonato no bairro Santa Luzia na cidade de Boa Vista. Tendo como base a migração como encontros de indivíduos que trazem consigo símbolos culturais regionais através de redes de relações familiares ou extrafamiliares marcados na produção de suas territorialidades, que ao mesclarem com novas culturas, novas identidades contribuem com a formação cultural do sujeito. Ligados ao espaço da Comunidade São Raimundo Nonato, os maranhenses de Boa Vista procuram marcar a ocupação do território para fortalecer sua fé e devoção pelo santo. Para atingir os objetivos propostos se fez necessário buscar elementos para analisar o tal festejo como reflexo do processo de hibridização na construção da identidade. Trazendo o multiculturalismo como recomeço da vida do maranhense no novo espaço, foi possível observar que mesmo com as dificuldades e as exclusões, as territorializações se assemelham com a possibilidade de aproximar a terra de origem com a de destino.

This dissertation can broadly be summarized as an examination of the construction and maintenance of a specific type of “authentic” American identity through the lens of folk music. Drawing from interpretive perspectives within the sociology of culture and social psychology, social constructionism and symbolic interactionism in particular, I combine ethnographic research with 61 interviews at two different “folk musicians’ festivals” (festivals where attendees, not hired professionals, produce the music). My principal focus at these festivals concerns the various practices and stories surrounding the creation and performance of original folk music. I use the empirical platform of musicians’ festivals, where folk songwriters are plenty, combined with the theoretical synthesis of music and narrative, to examine how such practices and stories shape, and are shaped by, culture, emotion, and identity. Specifically, I am interested in the cultural “work” accomplished by the interrelationships among music and narrative at festivals, around songwriting, and in songs, particularly as such “work” relates to the (re)production and reception of folk and festival culture, participants’ emotional experiences, the construction and maintenance of participants’ personal and collective identities, and the purposeful evocation of social change. In attending to the importance of process and meaning-making, I examine the process through which one accomplishes authenticity as a folk and festival member, the creative process of songwriting, and the process through which listeners experience and interpret “good songs.” I offer the concepts (and processes) of songwriting as inquiry and songwriting in action to account for how these interrelationships “work” for songwriters and listeners, but also for sociologists, particularly in terms of including the (mostly neglected) lived and embodied dimensions of emotional experience. Throughout, I explore how stories and practices in and around the process of musical production and performance are largely influenced by broader cultural narratives that circulate in and around folk music culture, particularly as they relate to the notion of “authentic identity” through emotionality, creativity, and social justice.

This thesis uses insight drawn from fieldwork among people developing a civic parade in Manchester over 2011-12 to analyse what happens in the translation of ideas into entities for display. It argues for creativity as an adaptive process, a responsive, dynamic activity manifested by parade makers, as they sought to realise the imagined event. It traces the roles that underpinned parade production and how people made sense and use of allocated responsibilities, while working within and through organisational boundaries. It situates the parade as an ‘art object’ (Gell 1998), constituted of assemblages at different scales (De Landa 2006), each embedded in a web of relationships to show how: a civic attempt to bring a public into being provides insight on the constituting organisational structures; the operational style of the arts organisation commissioned to produce the parade, led to imagining it into existence; and how two community groups responded to the parade parameters according to their own social dynamics. The thesis builds on ethnographic analyses of collaborative activities to consider how organisational shapes combine and how their constitutions substantially affect evolving entities. Situating creativity as an adaptive process separates creative activities from art practices by emphasising how supporting people to respond productively to changing circumstances encourages them to be creative. This thesis makes an original contribution to anthropology by showing through ethnography how creativity is a process, enacted through purposeful adaptation to circumstances in order to realise something tangible. It also encourages the development of a comparative framework for contemplating the extent to which different cultural contexts enable adaptive endeavours.

The thesis "Summer festivals in historic buildings" is focused on festivals, their current position on the cultural scene and a brief description of monuments and the possibility of their animation. With the mutual comparison of selected festivals was in the practical part made a model of the Prague Baroque festival. The main goal of the work focused on the identification and description of the major factors that have a direct impact on the success of the festival and their subsequent application in the construction business plan model festival. Characteristics of selected projects, industry and competitor analysis and SWOT analysis provided the information necessary to create a business plan. Information sources were supplemented by quantitative spacecraft to provide feedback on the first year of the Prague Baroque Festival. The conclusion is devoted to the synthesis and evaluation of evidence linking the project with cultural heritage objects, their advantages and disadvantages.

Cultural festivals have become a prominent topic of research because of their socio-economic value. However, thus far, limited research has been conducted on the more profound issue of the possible contribution of festivals towards constructing a cultural identity. The aim of this study was therefore to determine the role that one particular festival, the Lamu Cultural Festival, plays in constructing cultural identity, particularly when people from different cultural backgrounds are involved. Lamu in Kenya was chosen as the study area, due to its rich and unique cultural heritage, with the main aim of investigating whether the Lamu Cultural Festival is helping to preserve the cultural heritage of this area and/or to create a new Lamu identity. An anthropological approach was used to conduct the study on cultural identity. The research was conducted on the 14th annual Cultural Festival in Lamu, where the festival has taken place since 2001, after the Island was declared a UNESCO World Heritage Site. The best way to understand another culture is to experience it first-hand by travelling to the destination, hence the use of participant observation for data collection. The dissertation looks at various debates regarding identity construction through cultural festivals. It also investigates the development of festival literature, festival tourism and the history of festivals. Cultural practices among the Aweer, the Bajuni, the Sanye and the Orma in Lamu, and these people's sense of cultural identity before the introduction of the Lamu Cultural Festival are also assessed, in order to understand the respective senses of cultural identity of these four indigenous groups involved in the festival. The Lamu Cultural Festival itself is also discussed in detail: the planning process, stakeholders and organisers, people's motivations for participating in the festival, festival items and their composition. The research findings may assist festival organisers in achieving a better understanding of the importance of involving indigenous communities in the planning process and possibly in achieving a Lamu identity over time. / Dissertation (MHCS)--University of Pretoria, 2017. / Historical and Heritage Studies / MHCS / Unrestricted

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